Andy Gibb – Flowing Rivers (Album Review)

Released in 1977, Flowing Rivers is Andy Gibb’s debut studio album and is a timeless classic that showcases Andy's remarkable vocal prowess and undeniable songwriting skills. Carrying the weight of expectations that naturally come with being part of such an illustrious musical lineage, Andy not only rose to the occasion but also carved out a unique niche with this remarkable collection of songs.

From start to finish, each of the album's ten tracks carries a unique charm that will immediately captivate you with unforgettable hooks and a vocal delivery that oozes with sincerity. Yes, you’ll hear audible correlations to the Bee Gees when listening to Andy Gibb, but fans of both artists will likely attest that the association is merely complementary and that Andy’s recordings give fans a window into a different style that the Bee Gees simply could not present. From that perspective, Flowing Rivers is a unique masterpiece that shouldn’t exist in the shadows of the Bee Gees for it’s a notable release on its own. 

As it pertains to the availability of the album, sadly physical music fans are not covered as an official reissue, outside of the Japanese music industry, hasn’t been released since the late 90s. Yes, Flowing Rivers can be purchased via iTunes et al, but an artist with such a legacy deserves to have their music remain in print and it’s a travesty that Andy’s back catalogue is only available via digital means. 

Turning our attention to the lossless Apple Music stream, it’s almost certain that this release is derived from prior CD reissues and while it’s adequate, it isn’t going to set your sound system on fire. In reality, Flowing Rivers could be improved with a delicate remaster; not one that merely reduces the overall dynamic range and increases the volume. The album simply needs a little more oomph in its presentation and while some will point to EQ settings, they can often be too harsh; particularly those within the digital realm. The result is that you’re more likely to add a blanket of muddiness to the overall presentation than you are to address any of the existing shortcomings. A skilled mastering engineer is what’s ultimately needed to make this record sound even better than it already is. Nevertheless, it’s all about the songs that ensure Flowing Rivers is so compelling, so join me as I take a look at each song from the album.

I Just Want To Be Your Everything was a chart-topper the world over and there is little doubt as to why, as Barry Gibb penned this masterpiece with the infectious rhythm and catchy melody he’s renowned for. That said, had it not been for Andy’s smooth vocals, you’d find it impossible to sing along to. The result is that I Just Want To Be Your Everything is one of the best songs from the Gibb family camp. 

Words And Music is a lovely and timeless ballad. Describing it as magnificent would be an understatement. It’s certainly one of Andy’s greatest recordings and as music lovers, we are so fortunate to have such incredible music to appreciate and carry with us throughout our lives.

Dance To The Light Of The Morning is a fun and lively tune that highlights Andy’s versatility, but it’s ultimately an album-only tune that was never going to be a standout. While Dance To The Light Of The Morning is unlikely to compel you to listen to Flowing Rivers, the album wouldn’t be the same without it.

Too Many Looks In Your Eyes has a beautiful arrangement that highlights Andy’s emotive vocal throughout. When I suggest that the album and Andy Gibb’s music are hidden gems, it’s songs such as this one that I am referring to, for Too Many Looks In Your Eyes is one of the greatest songs from the 70s. Had it been released as a single, I’ve no doubt it would have gone to the top of the charts; it’s that good! 

Starlight has a dreamy quality about it and while it may get off to a slow start, it builds into a magical piece of music that, again, highlights Andy’s incredible vocal prowess.  

(Love Is) Thicker Than Water is one of Andy’s most memorable and enduring classics and features some beautiful guitar licks courtesy of Joe Walsh. It’s pop meets rock and is so thoroughly pleasing to the senses that you’ll find your body moving involuntarily to the rhythm of this masterful tune. Yes, it could be said that it is dated to the era, but good music stands the test of time and from my perspective, it sounds as fresh today as it always has. 

Flowing Rivers was an interesting choice for the title track for it isn’t the strongest song from the album or within Andy’s overall back catalogue. Don’t get me wrong, it’s a solid tune but isn’t worthy of being the album’s title track as it simply isn’t a standout, nor is it memorable. Still, it’s another of those songs that is enjoyable when listened to in the album’s sequencing; you just won’t look for it outside of the album structure.

Come Home For The Winter flows seamlessly from Flowing Rivers but the musical arrangement and pacing of this tune is far more appealing. You get a touch of pop, and classic rock, along with a country twang; the culmination of which becomes an addictively good tune that you’ll appreciate every time you play the album. 

Let It Be Me is a great little tune. Nothing to write home about, but thoroughly enjoyable nonetheless. 

In The End is a beautiful tune to close the album on as it encourages you to listen to the record again as it leaves you wanting more. It’s also contemplative, so should Flowing Rivers be the final album you listen to in the evening, you’ll be whisked away on a musical cloud of relaxation.  

Flowing Rivers is a timeless, and somewhat hidden, gem from the pop music landscape of the late 70s. Andy's incredible vocal talent, combined with the quality of songwriting on this album, cements his status as a pop icon. Yes, the renowned production team of Gibb-Galuten-Richardson (Barry Gibb, Albhy Galuten, and Karl Richardson) had a role to play here but as you listen to the album, each track showcases a different facet of Andy's natural talent, from his ability to deliver catchy pop hits to his knack for heartfelt ballads. Flowing Rivers is, subsequently, an album that shouldn’t be overlooked.

Check out more Andy Gibb reviews by Subjective Sounds

Neil Diamond – I'm Glad You're Here With Me Tonight (Album Review)

Neil Diamond's 1977 release, I'm Glad You're Here With Me Tonight, is a remarkable blend of heartfelt ballads and pop-rock anthems. This record showcases Diamond's signature style along with his ability to convey raw emotions through his distinctive voice. With 11 tracks that traverse love, longing, and introspection, this is one timeless gem from Diamond's extensive discography.

It’s, however, disappointing that I'm Glad You're Here With Me Tonight has been out-of-print for decades, with the last official physical reissue being released on both CD and Vinyl in 1988. While purists and collectors will suggest seeking out a used copy, I prefer to make my own memories with music and subsequently look forward to classic albums being reissued. While one can never say never, the massive reissue and remastering campaign of much of Diamond’s back catalogue (circa 2014-2016) was primarily focused on delivery via the iTunes Store and other Hi-Res digital download stores such as HDTracks. While I don’t have a problem with that, for the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is simply exquisite, I do wish legacy formats weren’t omitted for music lovers should always be given a choice. That said, the Apple Music stream is so good that I dare say, from a sonic perspective, there is no need to look elsewhere. Although, I do really want this album on the larger vinyl canvas if for no other reason than the incredibly well-designed album artwork. 

God Only Knows is one of the greatest songs ever written and as an original Beach Boys tune, from their acclaimed 1966 album Pet Sounds, nothing really compares; that is, until you listen to Diamond’s rendition. Yes, dear reader, I’m going to frustrate many dedicated fans of the Beach Boys, but as lovely as their original is, I do feel that Diamond recorded the song with the highest level of respect and covered it in such a way that it not only pays homage to the original but it becomes his own. Diamond also sings the song in a slightly lower register and the more lush orchestration plays a key role in my preference here for Diamond’s interpretation simply sounds right. If nothing else, God Only Knows is the perfect opening track for the album. 

Let Me Take You In My Arms Again is a warm and soulful love song. Diamond is, of course, renowned for this style of music, but I never tire of it for songs like Let Me Take You In My Arms Again are instant classics.

Once In A While presents a shift in tempo, but captures the essence of nostalgia. They don’t make music like this anymore is an apt assessment, but music lovers also don’t need imitators when we have such emotive and poignant ballads to appreciate til the end of time.

Let The Little Boy Sing is a catchy, upbeat, jazzy song that brings a sense of hope and optimism. It may be an album-only tune, but don’t let that deter you for it’s the strength of the filler material that ensures this album is one of the very best released in 1977.

I'm Glad You're Here With Me Tonight is a lovely title track that is a declaration of love. While love songs are a dime a dozen, Diamond ensures his sincerity shines through and that aspect alone is a partial reason for his success over the years. Linda Press’ backing vocals are also beautifully mixed into this song, although I do wish she was featured more prominently. 

Lament In D Minor / Dance Of The Sabres is nothing short of a masterpiece. The lengthy instrumental introduction showcases Diamond's versatility, blending classical elements, with a contemporary rock sound, to add depth to the album's overall presentation. It’s also one of Diamond’s most overlooked tunes and that’s an incredible shame for I consider it to be not only one of his greatest, but one of the best songs in all of recorded music history. 

Desirée is iconic! Diamond is absolutely captivating as he delivers this passionate and dramatic love song. 

As If has an air of simplicity with a folksy charm, but it isn’t great. It’s not so bad, however, that it detracts from the overall album experience, but it just doesn’t sing to me as the other songs from the album do. 

You Don't Bring Me Flowers (Solo Version) is simply beautiful, and as incredible as Diamond’s duet with Barbra Streisand is, from his 1978 album You Don’t Bring Me Flowers, this original composition is still magnificent.

Free Man In Paris is a cover of Joni Mitchell’s original. My only quibble with the song is the unnecessary first minute. If it could have started at the one-minute mark, I feel it would have been a stronger closer.

Overall, I'm Glad You're Here With Me Tonight is an incredible album that effortlessly weaves through various emotions, from love and longing to optimism and celebration. Diamond's powerful vocals and compelling songwriting shine throughout, as do the cover songs, thereby making this album a must-listen for fans and a timeless addition to Diamond's remarkable discography.

Check out more reviews for Neil Diamond by Subjective Sounds

Elton John – A Single Man (Album Review)

Elton John's 1978 studio album, A Single Man, is a fascinating pivot in the legendary artist's career for it would be his first without lyricist, Bernie Taupin and longtime producer, Gus Dudgeon. Don’t let that deter you, however, as John is a consummate musician and A Single Man is a stunning release, from his back catalogue, that is severely underrated. While it may not boast the same chart-topping hits as some of his previous albums, A Single Man is a testament to Elton John's musical versatility and ability to adapt to the evolving musical landscape of the late ‘70s.

As much as I appreciate the album artwork, I’ve yet to pick up a copy on vinyl. That said, from a mere sonic perspective, the Lossless Apple Music stream, derived from the 1998 remastered reissue, is flawless from start to finish. To say that it’s superb would be an apt assessment. Could it be better? Well, if John’s recent vinyl reissues are anything to go by then most certainly. Nevertheless, you’re unlikely to be disappointed with this digital counterpart. There’s plenty of headroom that allows for turning up the volume and the immersive and enveloping soundstage gives each instrumental element room to breathe while ensuring that you and I, dear reader, don’t miss a moment of John’s spectacular vocal delivery.

Shine On Through immediately sets the tone for the entire album with a simple, yet glorious composition. Whether it’s the piano, John’s vocals, or the musical and orchestral arrangements, Shine On Through is one of John’s greatest recordings.

Return To Paradise offers an interesting composition and while I thoroughly enjoy the opening, I don’t feel that the inclusion of Caribbean elements has ever really worked well for John’s style of music. Granted, Return To Paradise was never going to be anything more than an album-only tune, and I thoroughly enjoy it for that purpose, but I believe there’s a greater song to be heard if the musical arrangement was somewhat different. 

I Don't Care, with its bouncy rhythm and infectious chorus, will have you toe-tapping and head-bopping from the very first note. Containing a little rock and pop with a touch of disco, along with John’s signature piano and the gospel-style backing vocals, there’s something here for everyone to enjoy. 

Big Dipper is dripping with attitude and while it may start slowly, the New Orleans jazzy-blues sound, along with that addictive chorus, makes Big Dipper a standout on the album; even if it is one of John’s more experimental tunes. 

It Ain't Gonna Be Easy is a standout and is one of the best songs John has ever recorded. Additionally, the guitar work from Tim Renwick is simply incredible and blends seamlessly into the entire composition of the song. While the length of It Ain't Gonna Be Easy ensured it wouldn’t be heard over the airwaves, unless truncated to a radio edit, music lovers ultimately missed out on one of the very best songs of the 70s.

Part Time Love was one of the songs from A Single Man that received notoriety when released as a single. With its funky pop-infused rhythm and catchy melody, there’s little doubt as to why Part Time Love has endured as a fan favourite throughout the decades; an incredible tune!

Georgia is a beautiful stripped-down ballad with a captivating backing vocal harmony. It’s songs such as this that ensure A Single Man is an album experience first and foremost; a thoroughly enjoyable one at that. 

Shooting Star features a captivating melody and lyrical depth as John’s vocal is both soulful and moving. Yes, Shooting Star is another album-only tune, but when listened to in the linear album structure, the smoothness of Shooting Star makes perfect sense. 

Madness is a bluesy, rock-infused track that brings a gritty edge to the album. John’s vocal performance here is particularly strong, and the guitar work adds a nice texture. That said, I can’t help but feel that John’s vocal, in some places, is a little over-processed.

Reverie is a short musical interlude that serves as a palette cleanser before the album’s final track and pinnacle moments. 

Song for Guy is one of John’s greatest recordings and closes the album perfectly as it is both reflective and encourages the playing of the album again. As a mostly instrumental track, with only the very basic of lyrical elements, it’s fair to say that it’s amazing that it has become a fan favourite, but when a song is filled with so much emotion, it really shouldn’t be a surprise. 

While A Single Man may not have been as commercially successful as John’s other albums, particularly Goodbye Yellow Brick Road, that need not matter for sales success is generally a poor indication of quality and while the aforementioned classic release from John is an example of his most creative works, A Single Man is equal in that regard; it’s just that the music may or may not be to your subjective tastes. As for myself, I consider A Single Man to be not only exceptional but a must-own for all Elton John fans for it is criminally underrated and if given another chance, I’ve no doubt it will reach a broader audience. 

Check out more Elton John reviews by Subjective Sounds

The Jacksons – Goin’ Places (Album Review)

Released in 1977, The Jacksons' Goin' Places is a vibrant and groove-filled album that showcases the group's evolving musical style through a significant transitional period for the Jackson brothers, as they continued to distance themselves from their Motown roots and explore new musical horizons. Featuring nine tracks that blend elements of disco, funk, and soul, Goin’ Places may not have achieved the iconic status of some of their earlier, or later works, but remains a testament to the Jacksons' versatility and growth as artists.

As with most of The Jacksons’ album artwork, Goin’ Places is iconic but as much as one can appreciate it on the smaller canvas of a digital screen, holding the album artwork, as I’m fortunate to, draws you deeper into the album from both a visual and audible perspective. 

Speaking of the latest vinyl reissue, from 2018, it is immaculate in every aspect imaginable. Yes, the Lossless Apple Music stream, an Apple Digital Master, is exquisite, but the additional smoothness of the vinyl counterpart makes it, along with the artwork, a value-added proposition for fans of The Jacksons. Regardless of this aspect, if you’re an avid streamer, you’ll be thoroughly pleased with the streaming counterpart as this is one album that was not only recorded and mixed well but has been mastered with kid gloves, thereby ensuring that it’s a fun listen from start to finish. 

Music's Takin' Over kicks the album off with an infectious disco groove and while indicative of The Jacksons’ overall vibe, if you listen to Michael's lead vocal on this opening track, you’ll hear the germination of his future solo recordings; particularly those heard on Off The Wall. 

Goin' Places is a funky upbeat number that is not only a catchy tune but has a memorable chorus that will connect with your soul and encourage you to move your body. 

Different Kind Of Lady is another disco-vibed standout from Goin’ Places. If you can sit still while Different Kind Of Lady is playing, you’ve got more self-control than I do for it’s an incredibly addictive tune; one written by the Jackson brothers themselves. 

Even Though You're Gone slows the tempo and is a poignant and heartfelt ballad. While Michael was always front and centre, as it pertains to the Jackson 5 and The Jacksons, this is another example from Goin’ Places that showcases just how proficient he had become as a vocalist for his vocals and associated harmonies are beautifully executed. While it isn’t the first song you’ll likely think of when reflecting on The Jacksons, it is one of their very best recordings. 

Jump For Joy returns us to the upbeat tempo with a touch of funk mixed into the dance rhythm that’s simply impossible to resist. It’s, subsequently, a pure feel-good tune that captures the spirit of the disco era. 

Heaven Knows I Love You is another slower track, yet it doesn’t feel out of place for it’s simply beautiful and Michael’s vocals are particularly moving on this classic tune. 

Man Of War is a lovely song that flows seamlessly within the sequencing of the album. While it was never destined to be more than an album-only track, Man Of War is one of those songs that is memorable and I don’t know about you, dear reader, but I often find that listening to it leads to an earworm; a thoroughly enjoyable one I might add. 

Do What You Wanna returns the album to a funkier groove that will encourage you to get on your feet, let loose, and dance along to this catchy tune. 

Find Me A Girl is a little corny. It isn’t that it’s fundamentally bad, as the smooth and melodic elements are sonically pleasing, but it’s the weakest song on an otherwise perfect album. Yes, it still encourages me to play the album again, but it is one of The Jacksons’ songs that I don’t look for outside of playing the record in its linear structure.

While Goin' Places may not be as groundbreaking or iconic as some of The Jacksons' earlier work, or as polished as their follow-up Destiny, there’s just something to appreciate about Goin’ Places for it captures the spirit of the time with a mix of danceable hits and heartfelt ballads. Whether you're a fan of their earlier Motown classics, or enjoy their disco-era sound, there's something on this album for everyone and is a reminder of the Jacksons' enduring talent and their ability to invoke emotion through music.

Check out more reviews of The Jacksons’ music by Subjective Sounds

Elton John – Blue Moves (Album Review)

Released in 1976, this double album is a hidden gem and showcases a departure from John’s more commercially-driven sound by delving into a more introspective and musically diverse style. While it may not have enjoyed the same level of commercial success as some of his earlier works, Blue Moves stands as a testament to Elton John's artistic growth and willingness to experiment with his music. It’s also a hidden gem in John’s extensive back catalogue and if you give it time, Blue Moves, John’s eleventh studio album, will grow on you like no other record will, for it is one of his greatest musical achievements. 

Yet, it wouldn’t be far-fetched to declare Blue Moves as one of John’s most disliked albums, but while the music is divisive it is also a pivotal moment in that it doesn’t just deliver hit after hit but asks the listener for their full attention to fully appreciate it. Other than, perhaps, Sorry Seems to Be the Hardest Word, Blue Moves is an album experience first and foremost. As it was released in the vinyl era, logic would subsequently suggest that one should sit down and listen to the album, taking in all its nuances. Of course, the speed of modern society rarely seems to permit sitting and doing nothing, thereby delegating music to be nothing more than the background soundtrack to our lives. However, if you have the time, sit down, relax, and enjoy Blue Moves as a cohesive piece of musical art; I’m certain you won’t regret it. 

Your Starter For… is a short, but pleasant, musical introduction to the album. It has a fantastic rhythm and it’s just a shame the song isn’t longer. That said, it’s the perfect length for an atmospheric introduction that will put you into a reflective and contemplative mood.

Tonight is one of John’s greatest recordings. His piano playing is exceptional and the lush orchestration takes Tonight to the next level. Add to that, John’s beautiful emotive vocal delivery and you’ve got nothing short of a perfect song; one that has been recorded, mixed, and mastered with kid gloves, thereby ensuring that you’ll be captivated from the very first note to the last. 

One Horse Town features a strong piano-driven melody but you’ll have to wait before the blues-based rhythm comes into the mix as there’s a considerably long intro to contend with; one that arguably could have been culled. Nevertheless, I thoroughly enjoy the upbeat pace of One Horse Town and John’s vocal performance on this tune is of particular note as he takes the notes right to the edge before backing off at the last minute, resulting in vocal perfection. 

Chameleon showcases John’s versatility and skill in blending rock and pop elements to create what can only be called a gorgeous song. 

Boogie Pilgrim is infused with a lively, rhythmically addictive energy, but it’s ultimately an album-only track that is largely forgettable as a song on its own. 

Cage The Songbird is a beautifully orchestrated ballad with John’s vocals ultimately driving the tune. While Cage The Songbird was never going to be a standout, it’s a lovely tune in the sequencing of Blue Moves. 

Crazy Water is dynamically funky with an upbeat tempo that initially won’t wow you, but as the song builds and the chorus comes into the mix, it's so catchy that you can’t help but be drawn into what will quickly become a favourite song from Blue Moves. 

Shoulder Holster is a solid album-only tune. While it isn’t the strongest song on the record, the brass instrumentation makes it far more enjoyable and I dare say without it, Shoulder Holster would be rather bland.

Sorry Seems To Be The Hardest Word is one of the most extraordinarily beautiful songs John and Bernie Taupin ever wrote. To say it is a masterpiece is an understatement for it’s not only a standout on the album, and within John’s back catalogue, but it’s one of the greatest songs ever recorded in all of music history. Magnificent!

Out Of The Blue is a musical jolt following the sonic brilliance of Sorry Seems To Be The Hardest Word, but once the senses adjust to the shift, Out Of The Blue isn’t a bad song at all; it just wasn’t well positioned in the sequencing of the album. That said, after all these years, Blue Moves wouldn’t be the same if this instrumental tune was placed elsewhere. Subsequently, as with so many classic albums, you grow to love even the slightest missteps. 

Between Seventeen And Twenty presents us with another sonic shift and while Between Seventeen and Twenty was never destined to be a standout tune, something is compelling about it. Perhaps it’s the offbeat vocal presentation or the continuous edge-of-your-seat sense that the song is going to reach its peak, yet it is neither. Let’s just say that it is one of John’s most interesting songs, from a compositional standpoint. 

The Wide-Eyed And Laughing is quite a different style of song than we are used to hearing from John. I can, subsequently, understand why some would dislike it, but I find it captivating and feel it’s one of his greatest recordings.

Someone's Final Song is a hauntingly beautiful ballad. 

Where's The Shoorah? has a lovely vocal delivery and the harmonious choral backing is superb. The result is that Where's The Shoorah? is  perfectly suited to the album and could be seen as a precursor to You Gotta Love Someone.

If There's A God In Heaven (What's He Waiting For?) is a witty title, no doubt, but it’s not a standout. Still, as an album-only tune, it isn’t bad and helps to form the backbone that Blue Moves is built upon; an album with few hits but many memorable moments.

Idol is one of the most beautiful songs John and Taupin ever wrote, but if you want to hear the very best recording of Idol, look no further than George Michael’s rendition from Symphonica; nobody will ever do it better! 

Theme From A Non-Existent TV Series is another musical interlude and while the rhythmic shift from Idol is a jolt to the senses, this tune does lead perfectly into the final track. 

Bite Your Lip (Get Up And Dance!) is dance meets gospel, meets rock and roll, with a touch of pop. It’s a solid closer, although I feel Idol would have been a stronger song to conclude the album on as it would permit greater reflection. Still, the upbeat tempo of Bite Your Lip (Get Up and Dance!) is fun and sometimes that is the perfect way to close an album.

Blue Moves is an album that requires listeners to engage with its deeper emotions and intricate musical arrangements for this isn’t background music; until you get to know the album, that is! While it may not have generated the same commercial success as John's earlier works, it remains a testament to his artistic growth and is a worthy addition to his discography; even if it is one of the most overlooked, and underrated, albums of all time. 

Check out more Elton John reviews by Subjective Sounds

Elton John – Captain Fantastic And The Brown Dirt Cowboy (Album Review)

Elton John's 1975 release, his ninth studio album, Captain Fantastic And The Brown Dirt Cowboy stands as a masterpiece in his discography and a significant milestone in the realm of classic rock and pop music. The album not only showcases Elton John's unparalleled musicality and storytelling capabilities but also offers a personal journey that will resonate deeply with listeners who appreciate concept albums and literal lyrical meaning. From the intricate songwriting to the diverse musical arrangements, this record further solidifies Elton John's position as a true musical icon.

Visually striking and busier than the exceptional cover art for Goodbye Yellow Brick Road, Captain Fantastic And The Brown Dirt Cowboy is another of John’s albums that really needs to be experienced via the larger vinyl canvas for the detail Alan Aldridge put into the artwork is exquisite. While I’ve yet to own a copy on vinyl, displaying the artwork on the television, while the music plays, gets me part of the way there but this album is deserving of ownership and is, subsequently, on my wish list.

Sonically, while I hope that the vinyl counterpart will be exceptional, the Apple Music stream is another convoluted mess; not dissimilar to John’s Madman Across The Water, in that the Apple Digital Master is sonically compromised while the Deluxe Edition offers a far more pleasing presentation of the album that doesn’t sound lifeless, concealed, and has incredible separation and detail across the stereo spectrum. Subsequently, as is usual for these reviews, I’ve compiled a playlist of the core sequencing, taken from the Deluxe Edition, for you to enjoy as you peruse the rest of the review. 

Captain Fantastic And The Brown Dirt Cowboy is a solid title track but it takes a little too long to get to the heart of the song. Nevertheless, once it’s up and running, the upbeat melody, combined with poignant lyrics, introduces listeners to the duo’s (John and Bernie Taupin’s) struggles and aspirations. The result is a perfect opening chapter for those of you who appreciate narrative-driven music. For the rest of us, it remains musically enjoyable, particularly in the second half of the song when the rest of the band joins John in the mix and you get the percussion elements and killer guitar licks.

Tower Of Babel is exceptional with its shifting dynamics and powerful chorus that makes it a standout on the album and is one of John’s many hidden gems as his piano and vocal performance will leave you speechless. While the entire band is on fire, and Tower Of Babel is nothing short of pure perfection, I absolutely adore Nigel Olsson's drum performance (here and on the closing track Curtains) and I, subsequently, feel that his playing has often been underrated. 

Bitter Fingers is delivered via a slow build and like the album’s title track, it takes the first minute or so for the song to build to its exceptional climax. When it does, that chorus is off-the-charts good; even though it isn’t easy to sing along to. 

Tell Me When the Whistle Blows has a Marvin Gaye feel to it and it doesn't quite suit John’s style. Nevertheless, John’s emotive vocals are supported by gentle instrumentation that creates a delicate atmosphere throughout the verses. The chorus, however, falls flat and while the song is more than adequate as an album-only track, it is the low point in an otherwise exceptional record.

Someone Saved My Life Tonight is one of the most spectacular songs on the album and one of John’s greatest recordings. To think that it may never have been part of the social consciousness had John been successful in his suicide attempt in 1968, is just unimaginable. Aside from that aspect, John’s incredible vocal performance, mixed with the engaging melody and piano playing, ensures this is a timeless masterpiece.

(Gotta Get A) Meal Ticket has a rock-oriented arrangement that is not unlike a Rolling Stones recording. Subsequently, I love it! 

Better Off Dead is musically quirky, yet it works remarkably well. While Better Off Dead is unlikely to appeal to you on the first listen, the more you listen to the album, the more you come to appreciate it and John’s versatility. 

Writing is campy, but as with the varying styles heard throughout Captain Fantastic And The Brown Dirt Cowboy, you’ll find that songs such as Writing are a little lacklustre to begin with, but given time they grow on you and become thoroughly pleasing tunes that you look forward to listening to each time you play the album. 

We All Fall in Love Sometimes is a poignant ballad that transitions from contemplative verses to sweeping choruses. The orchestral arrangement adds grandeur to a simply beautiful song that needs to be heard to be fully appreciated for some music defies adequate explanation.

Curtains flows seamlessly from We All Fall in Love Sometimes and that was intentional, as it also was with Funeral for a Friend / Love Lies Bleeding, for originally the two were one. Regardless, it is a perfect way to close out the album for music doesn’t get much better than this and John, Taupin, and the band should all be congratulated for laying down such incredible music that is amongst the very best recorded in all of music history. 

As a complete body of work, John and Taupin masterfully crafted a sonic journey that spans the highs and lows of their careers and personal lives. Each track contributes to the album's overarching narrative, showcasing the duo's ability to seamlessly blend rock, pop, and introspective ballads. The result is, without a doubt, one of the best albums released in 1975. 

Check out more Elton John reviews by Subjective Sounds

Elton John – Caribou (Album Review)

Following an album like Goodbye Yellow Brick Road was always going to be a monumental challenge, yet John and the band created an impressively captivating and eclectic musical journey that showcases Elton John's distinct blend of pop, rock, and balladry.

Released in 1974, John’s eighth studio album, Caribou built on the success of his previous releases and continues to highlight the extraordinary writing skills of John and Bernie Taupin; for their ability to craft memorable songs and melodies knew few limits. Yes, it could be said that Caribou isn’t as strong as Goodbye Yellow Brick Road, but if we look at it on its own, Caribou is a masterpiece in its own right; provided, of course, that you ignore the bonus tracks from the 1995 CD remaster. Thankfully, I can choose not to include those songs in my digital library and I’m fortunate to own the 2017 vinyl reissue that is void of bonus material. It's a lovely reissue, particularly sonically as it sounds significantly better than the aforementioned digital remaster with a fuller and more immersive presentation. The album artwork, however, has been reproduced from a scanned source as you get the banding across the cover art that is common with such reproduction processes. The inner sleeve is better produced but could have been a little sharper as the text is easily readable, but the associated photographs are a tad soft. Nevertheless, when a record sounds this good, I’m not going to complain too much about the shortcuts taken with the sleeve designs.

As is common with these reviews, I like to share a version of the stream so that you can listen along while perusing the review. In this case, I’ve created a playlist of the core ten tracks from the album as I feel that’s the best way to experience it. However, if you’re interested in listening to all the bonus tracks, you can check out the complete version here. 

The Bitch Is Back is one of the greatest rock songs ever recorded. While John only ever dipped his toe into the hard rock musical spectrum, he could have gone even further for his rockers are just as memorable as his pop tunes and ballads. The song's infectious chorus and driving rhythm make it an instant attention-grabber and is, therefore, the perfect opener for Caribou.

Pinky is tonally beautiful and offers a slight change of pace, moving towards a more introspective and reflective sonic presentation that incorporates John’s signature piano-driven rock sound.

Grimsby has an addictively good rhythm. You’ll be toe-tapping and head-bopping from the very first note. Additionally, the unique tuning of the guitar riff, found throughout, is what can only be described as sonic perfection. I love it!

Dixie Lily is a classic album-only tune, with a touch of country, that would have been better suited for inclusion on Tumbleweed Connection as it feels a little out-of-place on Caribou. That said, after all these years, I can’t imagine Caribou without Dixie Lily. 

Solar Prestige A Gammon is a quirky experimental piece that showcases John’s willingness to explore different musical avenues. While it is unlikely to appeal to all music lovers, Solar Prestige A Gammon grows on you the more you listen to it. I, subsequently, consider it a hidden gem. 

You're So Static returns us to a more rock-oriented sound. With its energetic instrumentation and catchy chorus, You’re So Static is impossible to resist.

I've Seen The Saucers starts beautifully with a gorgeous beat and atmospheric sound. John’s vocal is somewhat Jazz-inspired and as the song continues its linear flow, it builds into a solid pop/rock tune that is worthy of inclusion on the album. That said, if this song had a little more spit and polish applied, it could have been a massive hit. The result is that there is a masterpiece hidden, just below the surface, that will forever remain concealed. Although, I will say that some of the concealed elements become more apparent on the masterful vinyl reissue. 

Stinker leans into a bluesy rock vibe, delivering a gritty and raw musical experience. It’s a fantastic album-only tune and another of John’s many hidden gems.

Don't Let The Sun Go Down On Me is simply fantastic and is, arguably, the standout song from Caribou. It’s an emotionally charged ballad and one of John’s greatest vocal recordings. The result is that Don't Let The Sun Go Down On Me is an unforgettable masterpiece.

Ticking is another of those hidden gems I’m so fond of. There’s nothing wrong with the core fan-favourite tunes, of course, but John has such diversity in his back catalogue, with so many memorable recordings, that every time I listen to his classic albums, there’s a level of musical freshness to be experienced. That aside, Ticking is a beautiful song that allows for contemplation of the album you’ve just heard while simultaneously compelling you to play Caribou again. 

Overall, Caribou showcases John's versatility as the music effortlessly shifts between various styles while maintaining his distinctive flair. The album's diverse range of tracks ensures that there's something for everyone; whether it's energetic rock anthems or heartfelt ballads. While some tracks may stand out more than others, the album as a whole is one of the greatest releases of the 70s and is another snapshot of brilliance from John’s impressive classic era.

Check out more Elton John reviews by Subjective Sounds